Description:
Crucifixion. Monotype in 14 colors on thin Japan. Circa 1915. 48,5 x 34 cm (image and paper). Signed in pencil lower left. At the beginning of his career Melzer trained with Ludwig von Hofmann in Dresden, and was among those of his generation on whom high hopes were pinned. In 1909 he moved to Berlin where he participated in the Berliner Secession. His expressive pictorial language combines naive poetic elements which are reminiscent of works by the Blaue Reiter artists, with constructivist and cubist influences. In 1912/13 his paintings won acclaim in Berlin, as well as in Switzerland and Paris and his works were later exhibited in post-war Germany. However, the fact that he preferred the technique of the monotype, limited the number of graphic works he could produce. Melzer explored the theme of the Crucifixion in a new way by moving the two thieves into the foreground, whilst Christ with the group of mourners appears on the far edge. The print is dedicated to the nameless naked victims in the foreground. The red breaks out powerfully from the depths around Christ and in the moon-shaped area near the center of the image. Melzer possibly had knowledge of early 16th century depictions showing Christ from the side or even from behind. The artist's early work was already imbued with thoughts of sorrow. A fine, very strong impression in sumptuous, pastose colors. This early and scarce work generally in very good condition. Framed. Provenance: Kunsthandel Jörg Maaß, Berlin.

Description:
Akt mit Ziege (Nude with goat). Oil on Canvas. 1931. 100 x 81 cm. Signed, dated and inscribed "in Paris" in blue brush lower left. Signed and dated again in white brush on the verso. The painting, in finely nuanced pastels, shows a classic female nude from behind, feeding a goat in a natural surrounding. René-Ernest-Ferdinand Brédier was born in Paris and studied with Ernest Laurent (1859-1929). He exhibited at the "Salon des Artistes Francaise" in Paris but remained relatively unknown in the art world.

Description:
Venetian Glass. Color offset lithograph in 6 colors on Huntsman Velvet wove paper. 1989. 83,5 x 87 cm (image and paper). Monogrammed, dated and numbered 22/72. Heenk p. 223. A fine impression in bright colors. Published by the Lincoln Center, New York. The print is based on a painting by the artist from 1984-87. Framed.

Description:
"Rock Hudson Washing his Car". Gelatin silver print on Agfa paper. 1952/printed 1970s. 37,5 x 46,5 cm (image); 40,5 x 50,5 cm (paper). Signed, titled, dated, editioned 16/70 and copyrighted in pencil on the verso. Complete title: "Rock Hudson Washing his Car, photographed outside his Hollywood Hills Home in 1952 for the Saturday Evening Post". The American photographer Sid Avery is best known for his intimate photographs of legendary Hollywood stars, such as the image here of Rock Hudson taken at the height of his career. Framed. Literature: Sid Avery. Hollywood at Home. A Family Album. 1950 - 1965. New York 1990, ill.

Description:
"Queen Elizabeth in New York Harbor". Gelatin silver print. 1958/printed 1998. 42,5 x 31 cm (image); 50 x 37 cm (paper). Signed and editioned 8/40 by the artist below the image in the margin; titled, dated, and copyrighted by Time, Inc., on the verso. This photo was taken during Feininger's tenure as a staff photographer at Life magazine (1943-1962) . In excellent condition. Framed. Literature: Andreas Feininger. A Photographer's Life 1906-1999. Ostfildern 2010, ill. p. 113.

Description:
"Tree #3". Chromogenic print flush-mounted on aluminum. 2003. 182 x 129,5 cm. Edition of 6. In 2003 Ryan McGinley became the youngest artist ever to have a solo exhibition at the Whitney Museum of Art. McGinley had first exhibited this group of photographs - titled "The Kids are Alright" after a song by the band The Who - in an abandoned gallery in 2000. Documenting the lives of artists and friends living in and around the Lower East Side of New York, the raw, edgy work garnered much attention, including that of curators at the Whitney. While his early diaristic style has often been compared to Nan Goldin and Larry Clark, there are notable differences. Goldin and Clark's photographs "were saying something painful and anxiety producing", while McGinley's "Kids" series is celebratory, positive. McGinley's work found a new influence in the summer of 2003. A friend and collector loaned him his house in the countryside. McGinley and his friends made the trek from New York City, leaving their normal "comfortable" environment, to push their boundaries and explore specifically set up situations. The resulting work consisted of modern day city kids set down in nature - nature thus becoming an expansion or extension of their urban playground. McGinley's outdoor photography documents 'real life' in a controlled environment, resulting in soft, dream-like images with strong cinematic ties. This first stay in the country led to annual road trips with McGinley using the American landscape as his backdrop for an expanding circle of models. Kris Kraus has noted, "McGinley's work can be seen as a series of mythic constructions that have become increasingly artful and conscious over the years." Whistle for the Wind. 2012, p. 23. McGinley's work is represented in numerous public collections such as, The Saatchi Gallery, London, The Guggenheim Museum, NY, The San Francisco Museum of Modern Art and The Whitney Museum, NY. He has had solo-exhibitions at: PS 1 MOMA Contemporary Art Center, NY; The Whitney Museum of American Art, NY; galerie du jour - agnès b., Paris; Kunsthalle Wien; and FOAM Fotagrafienmuseum, Amsterdam. A print of this work is in the Saatchi Gallery Collection in London. Exhibited: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. Whistle for the Wind. New York/Munich 2012, ill. pp. 188-189. Ryan McGinley. New York 2004, ill. unpaginated.

Description:
"Jake (Golden)". Chromogenic print flush-mounted on aluminum. 2003. 67,7 x 101 cm. This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. Exhibition: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. New York 2004, ill. unpaginated. Ryan McGinley. Whistle for the Wind. New York/Munich 2012.

Description:
"Dany". Chromogenic print flush-mounted on aluminum. 2003. 121 x 182,5 cm. Plain white label with name, title, medium, and size on the verso. This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. Exhibition: MoMA, PS1, NY in 2004 (our print). This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. Exhibited: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. New York. 2004, ill. unpaginated.

Description:
"Oliver". 4 vintage gelatin silver prints. 1987. 47 x 32 cm (image); 50,5 x 40,6 cm (paper). Each signed, titled, dated, and with copyright stamp on the verso. This photo is from a series in which Pedriali photographed young men from the streets of Rome in a high contrast manner which has often been compared to the use of light in the paintings of Caravaggio. Framed. Literature: Peter Weiermaier (ed.). Dino Pedriali. Zurich 1994.

Description:
"Eric (or Donald)". Chromogenic print flush-mounted on aluminum. 2002/printed 2003. 101 x 75,5 cm. Editioned 3/6. This photo was either from an edition of 6, or a unique artist's proof, or a special exhibition print.

Description:
"Francis". Chromogenic print flush-mounted on aluminum. 2004. 76,5 x 101 cm. Printed white label with title, date and size on the verso. This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. Exhibited: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. New York 2004, ill. unpaginated.

Description:
"Everyone Interlocked". Chromogenic print flush-mounted on aluminum. 2003. 69 x 101 cm. This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. Exhibited: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. New York 2004, ill. unpaginated.

Description:
"Simone". Chromogenic print flush-mounted on aluminum. 2003. 61 x 50,5 cm. This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. Exhibited: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. Whistle for the Wind. New York/Munich 2012, ill. p. 135. Ryan McGinley. New York 2004, ill. unpaginated.

Description:
"Eric (Glowing)". Chromogenic print flush-mounted on aluminum. 2004. 68 x 101,5 cm. Printed white label with title, date and size on the verso. This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. Exhibited: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. Whistle for the Wind. New York/Munich 2012, ill. p. 208. Ryan McGinley. New York 2004, ill. unpaginated.

Description:
"Dash Upstate". Chromogenic print flush-mounted on aluminum. 2002. 101 x 75,5 cm. Edition of 6. This photo was either from an edition of 6, or a unique artist's proof, or a special exhibition print Provenance: Bailey Fine Art, Toronto.

Description:
"Mulackstr. 37, Berlin: Slide Projection of Jewish Residents (ca. 1932)" Chromogenic print on Kodak Professional paper. 1992. 44,2 x 55,3 cm (image); 50,5 x 60,5 cm (paper). Signed, editioned 16/25, and dated in ink on the verso. Attie explores how contemporary media can be used to re-imagine new relationships between space, time, place and identity. He is particularly concerned with issues of loss, communal trauma and the potential for regeneration. Attie's work has been shown at MoMa, NY, The Corcoran Gallery of Art, Washington, D.C., and the Pompidou Centre, Paris, to name a few. Framed. Gallery labels Nicole Klagsbrun, NY, Jack Shainman Gallery, NY, Museum of Modern Art, NY loan label on the verso. Literature: Shimon Attie. The Writing on the Wall. Projections in Berlin's Jewish Quarter. Heidelberg 1993, ill.

Description:
"Dash Bombing, New York". Chromogenic print flush-mounted on aluminum. 2000. 100,4 x 75,4 cm. Edition of 6. This photo was either from an edition of 6, or a unique artist's proof, or was a special exhibition print. McGinley's late friend and fellow artist Dash Snow while spray painting (i. e. 'bombing') a building in New York City. Snow died in 2009 from a heroin overdose. Exhibited: "The Kids are Alright", Whitney Museum of Art, 2003. Literature: Ryan McGinley. Whistle for the Wind. New York/Munich 2012, ill. p. 47.

Description:
"Stefan". Chromogenic print flush-mounted on aluminum. 2004. 68,5 x 101 cm. This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. Exhibited: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. New York 2004, ill. unpaginated.

Description:
"Tree #1". Chromogenic print flush-mounted on aluminum. 2003. 100,5 x 68,5 cm. Edition of 6. This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. McGinley's "Tree" photographs have been described as scenes in which "the camera flash captures nature (trees, kids) in a party-like moment where the woods become a sort of rave or backroom for anonymous hooking-up." John Kelsey. Whistle for the Wind. p. 8. Exhibited: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. Whistle for the Wind. New York/Munich 2012, ill. pp. 188-189. Ryan McGinley. New York 2004, ill. unpaginated.

Description:
"Tree #2". Chromogenic print flush-mounted on aluminum. 2003. 101 x 67,5 cm. Edition 1/6, plain white label with title, date and medium on the verso. This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. Exhibited: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. New York 2004, ill. unpaginated.

Description:
"Madonna and the Fairy ("First they exchanged anecdotes and inclinations")". Oil on plastic mounted on wood. 2002-2003. 203 x 188 cm. Signed, dated and titled in black pen on the verso. In the disjointed art community of the early 2000s, a scene of energetic young artists emerged in downtown New York, a generation that didn't have a discernable identity. Dan Colen became the face of the Millennial art scene on New York's Lower East Side - the so-called 'Bowery School'. He thus developed into one of the most accomplished and promising multimedia neo-pop artists of his generation. Born in New Jersey in 1979, Colen graduated with a Bachelor of Fine Arts in painting from the Rhode Island School of Art and Design in 2001. His artistic production includes paintings and sculptures with cultural references, photographs, graffiti-inspired text paintings, ready-mades, films and large installations with performative elements - Colen's artwork could not be more diverse. What critics previously complained about is now part of the Millennial aesthetic: instead of developing a unique artistic style, solo careers are beginning to resemble group shows. "I'm on a journey. I'm not interested in singular things" (Dan Colen). Colen started his career by producing a series of photorealistic paintings populated by fantasy characters, followed by a series of paintings featuring Disney-style burning candles. He went on to explore spray paint on canvas, chewing gum as an abstract technique and paint which looks like bird droppings. Drawing from mass media, environmental experience and sub-cultural language, Dan Colen's work infuses a sense of magic in the undervalued and ordinary. At the same time, there are elements of religious metaphysics and Walt Disney cartoon aesthetics which constitute his prolific style of blending the controversial with the deeply poetic. Much of his work shares formal similarities with Abstract Expressionism and dialogues with art historical precursors such as Jackson Pollock or Yves Klein, yet it is also loaded with multilayered meanings and achieves a unique balance between form and content: Hyperrealism confronts graffiti and Abstract Expressionism. Colen's work has been shown internationally at galleries and in exhibitions including Gagosian Gallery and Barbara Gladstone Gallery in New York, The New Museum, New York, PS1 Contemporary Art Center, Long Island, New York, Peres Projects in Berlin, OHWOW in Los Angeles, The Royal Academy of Arts in London, the 2006 Whitney Biennial in New York and The National Museum of Art, Architecture and Design in Oslo. His works are held in numerous private and public collections such as The Saatchi Gallery, The Whitney Museum or the Astrup Fearnley Museum.

Description:
"Full Frontal". Oil on canvas. 2009. 142 x 183 cm. Signed in black pen on the verso. Matt Lifson is a young American painter based in Los Angeles, California. Born in 1985 in Nassau County, New York, he graduated from the School of Visual Arts in New York. His works are a disturbing but beautiful mix of the surreal and the abstract which touch upon themes of magic, nostalgia, party culture and sexuality. Strongly influenced by photography, cinema and the occult, his work explores both the real and the ethereal, creating spaces that move in and out of focus. He has exhibited his work internationally and participated in the 2011 Istanbul Biennial. "I've always been drawn to things that have the illusion of something fantastic. The way images are framed, the mood they're given, allows something that's always been there to be something ultimately unknown. That moment between dissonance and nostalgia that informs experience - that's the place where I work." (Matt Lifson). Provenance: Purchased directly from the artist.

Description:
"Me'Schell Ndegeocello-New York City". Chromogenic print on Fujicolor Crystal Archive paper. 1996. 60 x 50 cm (image and paper). Signed, titled, dated, editioned 2/25, and copyrighted by the artist on the verso. Mark Seliger specializes in portrait photography, primarily of celebrities such as the photograph offered here of the singer and songwriter Me'Schell Ndegeocello. From 1992-2002 Seliger worked as the chief photographer for Rolling Stone Magazine. Currently he is the head photographer at Condé Nast. Framed.

Description:
"Blood Dancer". Chromogenic print on Kodak Professional paper. 1992/printed 1994. 40 x 30 cm (image and paper). Mounted along upper edge to mat. Signed, titled and editioned 3/10 +1 in black ink on the verso. Tillmans' early work, such as the print offered here, is primarily diaristic, similar to the work of photographers as Nan Goldin and Ryan McGinley. His early work focuses on images from his personal life, as well as his social and political concerns. These often center around contemporary youth culture - the gay community, the London club scene of the 90s, etc. Around this time, Tillmans' work began being featured prominently in important fashion magazines, such as ID, Purple, and TheFace, bringing him instant notoriety. Most recently he has had solo exhibitions at the Pinakothek der Moderne in Munich, PS1 Contemporary Art Center and MoMA, NY, to name a few. Framed. Literature: Wolfgang Tillmans. Manual. Cologne 2007. Wolfgang Tillmans. if one thing matters, everything matters. Ostfildern 2003, ill. p. 45.

Description:
"Oliver". Chromogenic print flush-mounted on aluminum. 2003 101 x 75,5 cm. This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. Exhibited: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. New York 2004, ill. unpaginated.

Description:
"Jake and Dakota". Chromogenic print flush-mounted on aluminum. 2003. 75,5 x 101 cm. This photo was either from an edition of 6, or a unique artist's proof, or a print specially made for the exhibition. Exhibited: MoMA, PS1, NY in 2004 (our print). Literature: Ryan McGinley. New York 2004, ill. unpaginated.